Theory for Todayâ s Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks engagingly to todayâ s music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications.
Theory for Todayâ s Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks engagingly to todayâ s music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Ralph Turek is a theorist, composer, author, jazz pianist, Professor Emeritus at The University of Akron, and a veteran of 35 years of teaching in the music theory classroom. Daniel McCarthy is a familiar name in contemporary American music. As a composer, he has received distinguished faculty research/creativity awards at Indiana State University and The University of Akron, where he is Chair of the Composition and Theory Section in the School of Music.
Inhaltsangabe
PART ONE: IN LIEU OF FUNDAMENTALS 1 Assorted Preliminaries 2 Intervals PART TWO: DIATONIC HARMONY 3 Basic Harmonic Structures 4 Musical Shorthand: Lead Sheets and Figured Bass 5 Harmonies of the Major and Minor Scales 6 Cadences Harmonic Rhythm PART THREE: MELODY 7 Melodic Pitch and Rhythm 8 Embellishing Tones 9 Melodic Form PART FOUR: VOICE LEADING 10 Melodic Principles of Part Writing: The Outer-Voice Framework 11 The Melodic Factor in Four-Voice Part Writing: Voicing and Connecting Chords 12 The Chorale: Part Writing with Root-Position Triads 13 Part Writing with Triads in Inversion 14 Part Writing Seventh Chords PART FIVE: BASIC CHROMATIC HARMONY 15 Secondary Function I 16 Secondary Function II 17 Modulation I PART SIX: COUNTERPOINT 18 The Art of Countermelody 19 The Fugue PART SEVEN: ADVANCED CHROMATIC HARMONY 20 Mixing Modes 21 Altered Pre-Dominants 22 Other Chromatic Harmonies 23 Modulation II 24 Harmonic Extensions and Chromatic Techniques PART EIGHT: FORM 25 Binary and Ternary Forms 26 Sonata Form 27 The Rondo PART NINE: MUSIC IN THE TWENTIETH CENTURY AND BEYOND 28 Syntax and Vocabulary 29 New Tonal Methods 30 Non-Serial Atonality 31 Serial Atonality 32 Harmonic Principles in Jazz 33 The Blues 34 Shaping a Song Appendix A: Pitch Appendix B: Rhythm Appendix C: Lead-Sheet Symbols Appendix D: Part Writing Guidelines
PART ONE: IN LIEU OF FUNDAMENTALS 1 Assorted Preliminaries 2 Intervals PART TWO: DIATONIC HARMONY 3 Basic Harmonic Structures 4 Musical Shorthand: Lead Sheets and Figured Bass 5 Harmonies of the Major and Minor Scales 6 Cadences Harmonic Rhythm PART THREE: MELODY 7 Melodic Pitch and Rhythm 8 Embellishing Tones 9 Melodic Form PART FOUR: VOICE LEADING 10 Melodic Principles of Part Writing: The Outer-Voice Framework 11 The Melodic Factor in Four-Voice Part Writing: Voicing and Connecting Chords 12 The Chorale: Part Writing with Root-Position Triads 13 Part Writing with Triads in Inversion 14 Part Writing Seventh Chords PART FIVE: BASIC CHROMATIC HARMONY 15 Secondary Function I 16 Secondary Function II 17 Modulation I PART SIX: COUNTERPOINT 18 The Art of Countermelody 19 The Fugue PART SEVEN: ADVANCED CHROMATIC HARMONY 20 Mixing Modes 21 Altered Pre-Dominants 22 Other Chromatic Harmonies 23 Modulation II 24 Harmonic Extensions and Chromatic Techniques PART EIGHT: FORM 25 Binary and Ternary Forms 26 Sonata Form 27 The Rondo PART NINE: MUSIC IN THE TWENTIETH CENTURY AND BEYOND 28 Syntax and Vocabulary 29 New Tonal Methods 30 Non-Serial Atonality 31 Serial Atonality 32 Harmonic Principles in Jazz 33 The Blues 34 Shaping a Song Appendix A: Pitch Appendix B: Rhythm Appendix C: Lead-Sheet Symbols Appendix D: Part Writing Guidelines
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